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George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach
Artware Fineart
for sale €4,095     $4,445
£3,500

Artware Fineart

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George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

1900 - 1920
For Sale by Artware Fineart
Description

George Marks, 1857-1933

The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

Signed/Inscribed:

on the reverse " BEER DEVON / GEORGE MARKS / SHERE / GUILDFORD / SURREY "

pencil and watercolour

25 x 38 cm. (9.3/4 x 15in.)

Provenance :

By family descent from the artist.

Notes

Beer is mentioned in the Domesday Book of 1086, at which time it was located within Colyton hundred and had 28 households. Its name is not derived from the drink, but from the Old English word bearu, meaning "grove" and referring to the original forestation that surrounded the village.

It is a pretty coastal village that grew up around a smugglers' cove and caves which were once used to store contraband goods. These are now part of the attraction of the village. Many of the buildings are faced with flint, a hard glassy stone found in the local chalk rock.

Beer grew up around a smuggler’s cove and the caves, which still characterize this picturesque town on Lyme Bay. The men of Beer were once known as the 'the very kings of smugglers' and the caves were used to store all kinds of contraband. However, surprisingly, the town does not take its name from the barrels of the good stuff that would have inevitably been stored in these aforementioned hidey holes. Beer is an Anglo-Saxon word and refers to the forests which used to surround this particular hamlet. The smuggling history is very much reflected in the town today and Jack Rattenbury is notorious as the most famous smuggler in the South West.

In the late 18th century and early 19th century, smuggling provided many citizens of Beer with an income on both sides of the law. According to George Pulman in ‘The Book of the Axe’, published in 1875, “In former days, when the coastguard was inefficient and the exciseman lax, the Beer men were the very kings of smugglers.”

Beer fishermen had always had a fine reputation for their ability to handle and sail boats. With this ability and the ideal geographical location for landing contraband and transportation to remote farms and houses, smuggling became an alternative “trade” for some of the fishermen. By 1750, the area was so notorious that the local revenue officers were reinforced by dragoons posted in Beer, Branscombe and Seaton.

The boats used were Beer luggers, built in Beer, between 25ft to 35ft in length. They usually had a 4 man crew. Much of the contraband was brought in from the Channel Island of Alderney, but in some cases the smugglers would collect contraband from the North coast of France. As well as casks of brandy, tea, tobacco and silk were other commodities that were smuggled into Beer.

Not all of the inhabitants of Beer were smugglers, indeed some worked for the authorities to catch the smugglers. This could prove complicated and there are reported instances of coastguards being bribed to turn a blind eye at the appropriate time. The honest citizens could also make money from smuggling by informing on the smugglers or by retrieving the contraband. Revenue Cutter captains were rewarded for the contraband once it was handed over to the authorities and sold.

If a smuggler was being chased by a Revenue Cutter or had received a signal from shore, usually a fire, that coastguards were about, then the casks could be roped together in a raft and sunk offshore and its position marked by a float for later retrieval by “creeping”, fishing up the tubs using grappling hooks. In the event that the smuggler did not have time to sink a raft, then the kegs could be thrown overboard. To secure a conviction, the Cutter required both the smuggler and the contraband, so by separating himself from the contraband increased the smuggler’s chances of escape, especially as the contraband could be of financial benefit to the Revenue Cutter captain. Revenue cutter crews would also “creep” for contrab

Physical Dimensions
Height
25cm (9.84")
Width
38cm (14.96")
Depth
3cm (1.18")
Declaration

Artware Fineart has dated this Victorian Coastal Watercolour Painting to the 1900s.

Reference Numbers
Sellingantiques Reference
SA486013
Dealers Internal Reference
3912
Description
George Marks, 1857-1933

The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

Signed/Inscribed:

on the reverse " BEER DEVON / GEORGE MARKS / SHERE / GUILDFORD / SURREY "

fig 1. A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
fig 1. George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

pencil and watercolour

25 x 38 cm. (9.3/4 x 15in.)

Provenance :

By family descent from the artist.

Notes

Beer is mentioned in the Domesday Book of 1086, at which time it was located within Colyton hundred and had 28 households.
Artware Fineart

Its name is not derived from the drink, but from the Old English word bearu, meaning "grove" and referring to the original forestation that surrounded the village.

fig 2. A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
fig 2. George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

It is a pretty coastal village that grew up around a smugglers' cove and caves which were once used to store contraband goods. These are now part of the attraction of the village. Many of the buildings are faced with flint, a hard glassy stone found in the local chalk rock.

fig 3. A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
fig 3. George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

Beer grew up around a smuggler’s cove and the caves, which still characterize this picturesque town on Lyme Bay. The men of Beer were once known as the 'the very kings of smugglers' and the caves were used to store all kinds of contraband. However, surprisingly, the town does not take its name from the barrels of the good stuff that would have inevitably been stored in these aforementioned hidey holes. Beer is an Anglo-Saxon word and refers to the forests which used to surround this particular hamlet. The smuggling history is very much reflected in the town today and Jack Rattenbury is notorious as the most famous smuggler in the South West.

fig 4. A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
fig 4. George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

In the late 18th century and early 19th century, smuggling provided many citizens of Beer with an income on both sides of the law. According to George Pulman in ‘The Book of the Axe’, published in 1875, “In former days, when the coastguard was inefficient and the exciseman lax, the Beer men were the very kings of smugglers.”

Beer fishermen had always had a fine reputation for their ability to handle and sail boats. With this ability and the ideal geographical location for landing contraband and transportation to remote farms and houses, smuggling became an alternative “trade” for some of the fishermen. By 1750, the area was so notorious that the local revenue officers were reinforced by dragoons posted in Beer, Branscombe and Seaton.

The boats used were Beer luggers, built in Beer, between 25ft to 35ft in length. They usually had a 4 man crew. Much of the contraband was brought in from the Channel Island of Alderney, but in some cases the smugglers would collect contraband from the North coast of France. As well as casks of brandy, tea, tobacco and silk were other commodities that were smuggled into Beer.

Not all of the inhabitants of Beer were smugglers, indeed some worked for the authorities to catch the smugglers. This could prove complicated and there are reported instances of coastguards being bribed to turn a blind eye at the appropriate time. The honest citizens could also make money from smuggling by informing on the smugglers or by retrieving the contraband. Revenue Cutter captains were rewarded for the contraband once it was handed over to the authorities and sold.

If a smuggler was being chased by a Revenue Cutter or had received a signal from shore, usually a fire, that coastguards were about, then the casks could be roped together in a raft and sunk offshore and its position marked by a float for later retrieval by “creeping”, fishing up the tubs using grappling hooks. In the event that the smuggler did not have time to sink a raft, then the kegs could be thrown overboard. To secure a conviction, the Cutter required both the smuggler and the contraband, so by separating himself from the contraband increased the smuggler’s chances of escape, especially as the contraband could be of financial benefit to the Revenue Cutter captain. Revenue cutter crews would also “creep” for contrab

Height
25cm (9.84")
Width
38cm (14.96")
Depth
3cm (1.18")
Date of Manufacture

Artware Fineart has dated this Victorian Coastal Watercolour Painting to the 1900s.

Reference Numbers
Sellingantiques Ref
SA486013
Dealers Internal Ref
3912
Artware Fineart
Sellingantiques verified Since Sep 2008
Dealer Profile

You can view the stock and full dealer information on the Artware Fineart Profile Page

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A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
1 / 5
Archive I A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.

George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach

Archive II A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea. View II
Archive III A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea. View III
Archive IV A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea. View IV
Archive V A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea. View V
Enlarged Archival View
Telephone 07958 699 645
Location
18 La Gare
51 Surrey Row
London
SE1 0BZ
United Kingdom
Verified Since Sep 2008
Items For Sale 243
Items Sold 223
Artware Fineart
Verified Since Sep 2008
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Location: 18 La Gare , 51 Surrey Row , London , SE1 0BZ , United Kingdom
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243
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A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
George Marks, 1857-1933 The Beach and Chalk Cliffs at Beer Devon,with Fishermen and a Family on the Pebble Beach
Ref: SA486013
A late 19th-century watercolour painting depicting chalk cliffs in Beer, Devon, featuring fishing boats on a pebble beach alongside fishermen and figures near a calm sea.
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Antiques are the ultimate green purchase. By choosing historical pieces over newly manufactured goods, you completely eliminate the carbon footprint of modern mass production while preserving exceptional, timeless craftsmanship.

Victorian coastal watercolours typically depict British shorelines, fishing villages, and dramatic topography using transparent washes of water-soluble pigment on paper. Artists of this era focused on capturing atmospheric light, naturalistic details of coastal working life, and topographical accuracy.

Nineteenth-century watercolours were executed on rag paper using organic and mineral pigments bound with gum arabic. Artists applied translucent washes layered over pencil underdrawing to build depth, form, and atmospheric perspective.

Authentic period watercolours often exhibit natural age marks such as slight foxing, soft toning of the paper, and period-appropriate artists signatures. Inspecting the artwork under magnification reveals genuine watercolour wash techniques rather than modern print dot matrices.

A Victorian marine landscape can be mounted in a classic gilded or natural wood frame to add historical depth to contemporary spaces. Positioned above a sideboard or within a gallery wall, it complements coastal, traditional, or eclectic design schemes.

Watercolours must be displayed away from direct sunlight and illuminated with light-emitting diodes to prevent pigment fading. Frame the work using museum-grade UV-filtering glass and acid-free archival matting in a climate-controlled room to avoid moisture damage.
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